This Writing Life

Wednesday, March 21, 2012

Being Cinematic

March 21, 2012
My former agent sent me an email she received from the film agent she works with who was looking at some of the things I'd written lately. I figure I'll share it with you. It's sort of illuminating.

Regarding FORTRESS OF DIAMONDS, while I liked the Indiana Jones-like adventure of this property, the zombies and vampires make it a really tough sell at this time since the market on both of those got saturated a while ago…
Regarding MONSTER SEEKER, unfortunately this just has too much similarity to Harry Potter for me to be able to set it up. Regarding CHINA FIRE, while I really liked the book and it’s a cool action thriller, it seems somewhat reminiscent of many other films of the same genre without the unique hook needed for adaptation. Regarding DIRE STRAIGHTS, as a short story, it would be hard to set up for TV or film but I loved Derek in this really action-packed spy story. Regarding THREE MUSKETEERS, I also liked this property. This is always a fun story with recognizable characters, but since the newest Three Musketeers movie just came out, also with a girl in the lead no less, I don’t think I’d have any luck setting this up, unfortunately.

One of the thing that was driving me crazy about my former agent (aside from the fact that she was basically acting oblivious to the implosion in the publishing industry) was that she seemed to put far more of "her" energies into a movie deal than she was in actually getting the books I sent her published. Whenever I spoke with her about what was going on it was all "well Lane's working hard on getting a film deal" or "I'm waiting to hear from Lane."

NOT: It's at Random, St. Martin's, and Kensington.

Anyway, that's besides the point.

The point, for me, is that really, if you look at a films, it's clear that just about any book can be made into a movie. Really, folks, do you think THE ENGLISH PATIENT, upon reading it, a filmmaker said, "Wow, that'll be an easy adaptation."

If so, they're crazy.

Did somebody read TWILIGHT and say, "Well, vampires have been done before..."

No. There are other factors.

Which is a slightly around-about way of saying, in my opinion anyway, that you should write your book the way you want to write your book with little if any regard for the possibility of it being turned into a film. (It's DIRE STRAITS, by the way, but don't get me started). Do I think my books would make good films?

I'm reminded of a line from the wonderful Peter Lefcourt novel, THE DEAL, a satire/caper about the film industry, when the junior executive/script reader at the film studio asks Charlie Bern, the down-on-his-luck film producer, if he thinks the script he's got is good. "What's a good script? My definition of a good script is one that gets made into a movie."

She accuses of being cynical (he is). But is he wrong?

Really? Have you ever read the book THE WORLD ACCORDING TO GARP and then seen the film? Who read that book and thought it would make a good film? Who would have guessed it would even be possible?

Who read the book ERAGON and thought it would be a good idea to turn the sprawling 8 billion word novel into a 90-minute film?

Who read Stephen King's short story CHILDREN OF THE CORN and thought ANYTHING should be done with it except perhaps scoured from memory?

So to answer the question, Do I think my books would make good films? The answer is: it depends.

I think they COULD be made into good films. They're cinematic. Lots of incident. Fairly straightforward. But it always depends on having a good director, a decent budget, a good cast, an actor who can carry the film, and a whole slew of factors regarding directors and producers, etc., who don't just want to make money, but want to take whatever magic they found in the book and turn it into something similar on screen.

I'm reminded of the enormous success of John Sandford's "Prey" novels. To-date there have been two made-for-TV movies based on the books. The first featured Eric La Salle, which was fairly interesting casting, to say the least. The movie went for dark (with no pun or reference intended to La Salle's race) and the film was a really grim experience, although on the surface I suppose it was okay, although the feel and tone of the movie was waaayyyyy different than the book. Then they made one recently featuring Mark Harmon. I like Mark Harmon as an actor quite a bit, but he's a very understated actor. To my mind, the character of Lucas Davenport is very flamboyant and charismatic. I didn't think Harmon was as good a match (I'm not sure who would be), and although reasonably entertaining, the tone and feel felt wrong.

Which may just be another way of saying that it's really hard to do this well. I haven't seen Katherine Heigl as Stephanie Plum yet, but I wonder.

Tuesday, March 13, 2012

Strategic Business Decisions In Publishing

March 13, 2012
William Goldman, perhaps best known for writing the book and the script for MARATHON MAN and tons of other films, is pretty well known for a line he wrote in a nonfiction book called ADVENTURES IN THE SCREEN TRADE. The line is: Nobody knows anything.

So with that as a preface...

I recently let my agent go and have made a conscious decision to write and self-publish my books as e-books, and at least in some cases, also as trade paperbacks via CreateSpace.

I got some pats on the back about it, with people more or less saying, "Well, it's about time."

[Barry tweeted to say it wasn't a rant. So okay, it's not a rant. But it's definitely mocking. :)]\

My point isn't really to talk about them or the letter or the DOJ investigation (justified, IMHO).

But first I want to give a little context.

There are bestselling authors. These days that's a tricky thing. I'm a "bestselling author." That is to say, several of my books have, from time to time, been on various Amazon bestseller lists. Hey, it's not that hard. It's about sales velocity, not volume, so if on any given day you manage to sell a dozen or twenty or so copies of a book in a short period of time, voila, there you are. I ain't rich. Trust me on this.

By bestselling author, I'm going to use the definition most of the reading public tends to use - somebody everybody knows is a big author: Stephen King, JK Rowling, Lee Child, Sue Grafton, etc.

And for today's discussion, let's just define them as: authors who get book advances that range from hundreds of thousands to millions of dollars and who routinely sell millions of copies of their books in just about every format.

Then there are a bunch of other writers. For years, quite a few (well, okay, some) writers who wrote books, made a decent living selling maybe 10,000 to 15,000 in hardcover and 200,000 to 300,000 in paperback, which for the uninitiated, probably meant an income of, say, $50,000 to $100,000 or year. Good money if you can get it. Maybe higher, maybe lower, but for this discussion, they made a living writing a book a year and it was a decent living. They weren't bestsellers, they weren't brand names, but they were working writers.

Sometimes they were called midlist writers. "Midlist" has never really been a great word because it means so many different things, and I'm inclined to think it's meaningless now.

Now, below the "midlist" group is another "midlist" group, at least to my mind. These are writers who make a living writing fiction, but their books probably make between $8000 and $15,000 or $20,000 each year, but by writing several books a year under pseudonyms and getting the occasional movie sale and some foreign rights sales, and maybe by supplementing their income with magazine articles and business writing (or spouses with decent incomes), they too make a living as a writer, although they're working pretty damned hard for it. I'll still call these folks midlist, but in some ways over the years publishers and publishing mavens called them "genre" writers.

Whatever. We're not discussing breakfast cereal here. Mikey's not here to tell you which cereal is "good for you."

And below them were the so-called "literary" writers, which didn't necessarily mean - by a weird definition - that the books had literary merit, but that they sold very poorly. No advances, or advances of $1000 or $2000 and the books sold 500 or 1000 or a couple thousand copies.

With some irony, I've noted that I've fallen solidly into the "literary" category, although my books themselves are largely "genre."

If we go back to what I referred to as WriterLand, it's fairly clear that Mark Terry, Scott Turow, Barry Eisler and Joe Konrath, in the past, at least, were living in different areas of WriterLand.

Turow was living in a very rarefied part, the Montauck, Beverly Hills, Hamptons area, where he can write one book every five or six years, it becomes a bestseller, movies got made out of it, and his books never went out of print.

Barry Eisler, to my mind, wasn't quite in Turow's neighborhood, but he was in, perhaps, a nice townhouse in Manhattan, perhaps living in Greenwich Village somewhere, or one of the better areas of Pasadena.

Joe, until recently, was a working class writer, more or less midlist, probably at the bottom of it. He was making a living writing fiction and he was working his ass off to do it, but he wasn't making a ton of money.

I, on the other hand, was writing a book or two a year and was lucky to make enough money to cover my promotion expenses. I was making a couple grand a year.

The changes in publishing, primarily e-publishing and the resulting 70% royalties for books over $2.99 (and about 35% for anything less), the fact the books don't go out of print, and that you don't have to appeal first to an agent, then an editor, then a publisher, then a publisher's sales team before someone grudgingly says, "Yeah, let's give it a shot," have given all writers - even Mr. Turow - options they didn't really have before.

At this stage of the game, if you're a slow writer who produces a book every 5 or 6 years and your publisher puts up with that shit and your readers - a few million of them - wait eagerly for your book and your publisher frontlists you and essentially does all the heavy lifting, then so-called legacy publishing probably still makes sense. You write the book, someone pays you tons of money, you do some promotion on somebody else's dime, then you go off to writing a paragraph a day for the next five years. Good work if you can get it. Not many can get it.

Barry's decisions were a little harder to understand from the perspective of, say, me, but I think it had to do with control and maximizing return. In other words, Barry got tired of listening to editors and publishers tell him what they were going to do, then doing something else and blaming him for the results. Also, Barry, who seems to be a pretty shrewd business guy, felt he would make more money by focusing on something besides legacy publishing. To-date, from what I hear, that's the case.

Joe's case, from what I know of it, is clearly one of someone who's wildly benefited from the e-book revolution. He's a fast writer, he likes to collaborate with other people, he's a monster promoter, and he writes well in several different genres, primarily crime, horror, suspense, and SF. And comedy, which infuses all his books. He's making a ton of money going it alone and I have very little difficulty understanding him saying that legacy publishing doesn't have anything to offer him. At this stage of the game, that seems true. He's doing this his way, writing his butt off, and making a lot of money doing it.

My situation is different. I was willing to hang on for a while to see how the ebook thing worked out and how the legacy publishing thing worked out. Frankly, the legacy publishing thing never worked out all that well. I never did get the support of a large publisher, although I've been published by some very fine independent publishers of small to mid-sizes. I've also been dropped by publishers, gotten minuscule advances, and had some contract terms supposedly negotiated by my former agent that you have to look at and say, "WTF?" I mean, really, 8% ebook royalties? (Think about that for a second if you can without bleeding from every orifice. The Fallen on Kindle sells for $1.99 currently. My royalty is slightly less than 16 cents per copy. I published The Devil's Pitchfork myself as an ebook after getting the e-rights back, and I sell it as an ebook for $2.99 and my royalty rate is 70%, or $2.09 per copy sold).

But still, I'm not entirely convinced that legacy publishing is going the way of the T. Rex. I think some of them will crash and burn. I suspect, unfortunately for all of you (and me) who love paper, that as ebooks take over the market, the prices of paper books are going to rise and rise and rise, which will kill paper books except for collectors willing to pay $50 for a hardcover and $25 or $30 for a trade paperback. And mass market paperback? Dudes, I'm sorry, but that whimper you hear is the last of them expiring.

But I finally took a hard look at where my writing career was. What my options were. How my agent behaved when I gave her new material. How my traditional publisher responded to my book sales and how they responded when we asked them to look at the next book over a year ago. How my agent had done with foreign sales (nada), movie sales (nada), any other subsidiary rights (nada), my advances (ha-ha!), my sales in general (paper - slim; ebook - improving), and my own temperament and approach to writing and publishing and promoting. (I love to write, I love to write in multiple genres, I don't enjoy promotion and have neither the time, money, or energy to do a lot of it, and I make a nice living writing nonfiction, so my livelihood doesn't really depend on the fiction sales, and, perhaps this shouldn't be minimized - having been published in hardcover, trade paperback, won a couple awards, gotten great reviews, my ego can deal with a different approach). I looked very, very hard at the numbers. At the numbers of copies sold, at my royalty rates, and my advances, at my royalty checks and payments.

In other words, I didn't just go all emotional. And I didn't just buy everything Joe Konrath said (although much of what he says is true, it appears to be more true for Joe than for, er, the average Joe). I experimented and looked at my own experiences and tried to remind myself that I may have been holding onto legacy publishing because I'd had a grip on it for so long, not because it was the best place for me to be. That's why I made the decision I did.

And in 2 or 5 or 10 years, if conditions change, I may change my mind again. I'll make a business and creative decision that's best for me as a writer and businessperson.

Wednesday, March 07, 2012

DIRE STRAITS

March 7, 2012
Yes, the Derek Stillwater novella, DIRE STRAITS, is now available at Smashwords and on Kindle. Yes, it's basically the same thing as the one serialized here on my blog. But with a nifty cover. And some copyediting. And you can read it on your e-reader. And what else?

Monday, March 05, 2012

Oh. Hello.

March 5, 2011
Hello. Yes. It's me again. I haven't been blogging much lately. Partly because I don't seem to have much to say. Or, more like it, I've said most of it over the last 5 and 7 years and I'm giving myself a break from talking about my own feelings and thoughts about writing.

Instead, I'm writing. A lot. A lot of nonfiction.

But fiction. Because I have plans for 2012.

First off, I should be making the e-book of the Derek Stillwater novella, DIRE STRAITS, available in various ebook formats soon. Yes, it's free, serialized here on my website. But I'm going to make it available with some nifty cover art and fewer typos for those readers who like to read things on their e-readers.

Secondly, I'm finishing the draft of the next Derek Stillwater novel, THE SINS OF THE FATHER. Almost. There. About 90,000 words. Derek's been hauled into the Kremlin. Things are...

Well, anyway. Once I finish the draft it needs rewriting. Lots of it. Man, I've got a guy named Misha for part of the book and Mischa for another part. Stuff like that. And other stuff. Important stuff. But I'm hoping to finish it completely by the end of March to mid-April and hopefully get cover art commissioned and the sucker up and out on e-books in May or June. And I'm planning on making a trade paperback available.

I plan to finish a tech thriller called CRYSTAL STORM and publish it.

I plan to finish the next Austin Davis novel, CAPITOL SECRETS and publish it.

This year.

I think. It's possible that I will instead of immediately working on those I will work on the sequel to THE BATTLE FOR ATLANTIS, which is tentatively titled THE SEARCH FOR MERLAND.

Also, my oldest son, Ian, is writing a sequel to MONSTER SEEKER that is tentatively titled RISE OF THE DARK SEEKERS. It's got magic and monsters and evil wizards and battles and magical swords and demons and lots of humor and a sword that can create a cyclone and vampires and a chase through New York City and then Chicago (I believe) and then... he's got to finish it. But I hope he finishes it before he goes to college in the fall.

And I've got this short story I've been working on, "Humanitarian Aid," that I want to finish and send to SF markets.